Collectanea Philologica T. 18 (2015)http://hdl.handle.net/11089/160642024-03-29T13:31:36Z2024-03-29T13:31:36ZOfiary z ludzi w obrzędowości rzymskiej – mamuralia, sacra argeorum, saturnalia, compitaliaKaczor, Idalianahttp://hdl.handle.net/11089/163042021-06-30T06:18:21Z2015-01-01T00:00:00ZOfiary z ludzi w obrzędowości rzymskiej – mamuralia, sacra argeorum, saturnalia, compitalia
Kaczor, Idaliana
Apotropaic behaviours in the Roman system of beliefs required the use of various forms of offerings in order to achieve the expected sacral goal. We may assume, that a full effectiveness of such actions was asserted only by human sacrifice. Along with the development of religious practices the Romans substituted human sacrifice however, in times of serious danger for the Roman community, they would reach for the early sacral experiences. In the system of Roman beliefs extremely important appeared to be the rituals at the turn of the year, which represented the periodic change of the tempus sacrum. Many of the rituals of the turn of the year played the role of lustrative rites, which were extended into practices of liberating the community from sacral miasma and received those rites which represented the destruction of cosmic order and its recovery to the state of primordial chaos. These types of ceremonies might have required a human sacrifice.
2015-01-01T00:00:00ZTeorie pochodzenia Pulcinelli i jego związki z antykiemSterna, Martahttp://hdl.handle.net/11089/163022018-02-01T11:20:27Z2015-01-01T00:00:00ZTeorie pochodzenia Pulcinelli i jego związki z antykiem
Sterna, Marta
A discussion on the origin of Pulcinella, the most important mask of Neapolitan Theatre, is the subject matter of the following article. At the beginning, I will present the characteristics of this figure including his symbolism. Then, I will discuss possible connections of Pulcinella with some dramatic forms of ancient theatre. At the same time, I will describe a review of study of this figure specifying the most important phases of this research. The conclusion of this article will consist of the summary of the results of carried out analysis.
2015-01-01T00:00:00ZPrzyjaciel czy pochlebca? Żona jako lustro w „Zaleceniach małżeńskich” Plutarcha (14, 139f–140a)Sowa, Joannahttp://hdl.handle.net/11089/163012021-07-23T08:38:42Z2015-01-01T00:00:00ZPrzyjaciel czy pochlebca? Żona jako lustro w „Zaleceniach małżeńskich” Plutarcha (14, 139f–140a)
Sowa, Joanna
In chapter 14 of the “Advice to the Bride and Groom” Plutarch recommends a wife should behave like a mirror, faithfully reflecting her husband’s moods and attitudes. In this paper I compare this piece of advice with other mirror-similes which have been related to human beings (as lovers, friends, flatterers, and models to follow) in ancient Greek and Roman literature, especially in Plutarch’s works. I conclude that the ideal Plutarchan wife has been situated, perhaps unintentionally, „between” friend and flatterer, because the mirror-simile in the “Advice…” symbolizes not only the true unity of man and his wife, but also the strict hierarchy amongst them.
2015-01-01T00:00:00ZPindaric kleosJaszczyński, Maciejhttp://hdl.handle.net/11089/163002018-02-01T11:20:20Z2015-01-01T00:00:00ZPindaric kleos
Jaszczyński, Maciej
Artykuł porusza kwestię funkcjonowania pojęcia sławy - kleos - w „Odach zwycięskich” Pindara. Pierwszym problemem jest stosunek pomiędzy kleos Pindara a kleos epickim, w szczególności Homeryckim. Staram się odpowiedzieć na pytanie, dlaczego Pindar w bardzo ograniczony sposób korzystał z motywów pochodzących z „Iliady” i „Odysei”, natomiast bardzo często sięgał do poezji cyklicznej. Przeprowadzam dokładną analizę ostatnich wersów trzeciej „Ody Pytyjskiej” w świetle Homeryckiej koncepcji kleos oraz bardzo archaicznej formuły poetyckiej kleos aphthiton. Następnie rozważam relację Pindara z wcześniejszymi poetami lirycznymi, głównie na podstawie fragmentów z Ibykosa 282a (S151), „Elegii Platejskiej” Symonidesa, krótko wspominając Stezychora. Staram się pokazać jak koncepcje kleos w tradycji poetyckiej wpłynęły na Pindara.; This article discusses the issue of how kleos works in Pindar’s epinician odes. Firstly, it deals with the relationship between Pindaric and epic, and specifically, Homeric kleos. It tries to answer the question why Pindar was rather reluctant to extensively use the “Iliad” and the “Odyssey” in his odes and much preferred the cyclic poems. I am providing a close analysis of the closing line of the “Pythian 3” in view of Homeric concepts of kleos and a poetic formula of kleos aphthiton. Next, I am discussing Pindar’s relationship with earlier lyric poets, mainly on the basis of passages from Ibycus’ 282a (S151) and Simonides’ “The Platea Elegy”, also briefly mentioning Stesichorus. I am trying to display how their understanding of the mechanics of poetic kleos influenced Pindar.
2015-01-01T00:00:00Z